Neighbors (1981)

R | 94 mins | Black comedy | 18 December 1981

Director:

John G. Avildsen

Writer:

Larry Gelbart

Cinematographer:

Gerald Hirschfeld

Editor:

Jane Kurson

Production Designer:

Peter Larkin

Production Company:

Columbia Pictures
Full page view
HISTORY

       According to an article in the 28 Jun 1981 LAT, when Thomas Berger’s novel, Neighbors, was published, producers Richard D. Zanuck and David Brown bid for film rights, and found themselves competing against director John G. Avildsen and “super agent” Irving Paul “Swifty” Lazar for the project. Zanuck and Brown chose to join forces with Avildsen and Lazar to purchase the rights, noting that they put up the money, and “Lazar agreed not to compete.” Lazar received an executive producer credit. Articles in the 23 Feb 1981 DV and the 8 Jun 1981DV reported Zanuck and Brown had a “long-term exclusive deal” with 20th Century-Fox, but Fox was not interested in the project. LAT noted that Fox passed a second time after reading Larry Gelbart’s first draft of the screenplay. The producers took the project to Columbia Pictures where Frank Price made a deal for the film, with a $10 million budget, a mid-Apr 1981 start date and a Dec 1981 planned release.
       The LAT article noted that Zanuck and Brown first considered “superstar comics” such as Gene Wilder and Steve Martin, but chose to cast John Belushi and Dan Aykroyd. The 8 Jun 1981 DV reported Belushi’s salary was $1.35 million and Aykroyd received $1 million, plus percentages for the actors. According to the 18 Dec 1981 NYT review, the character played by Aykroyd was named “Harry” in the novel, but was changed to “Vic” for the film.
       A 24 Apr 1981 HR brief stated principal photography began 20 Apr 1981, and ...

More Less

       According to an article in the 28 Jun 1981 LAT, when Thomas Berger’s novel, Neighbors, was published, producers Richard D. Zanuck and David Brown bid for film rights, and found themselves competing against director John G. Avildsen and “super agent” Irving Paul “Swifty” Lazar for the project. Zanuck and Brown chose to join forces with Avildsen and Lazar to purchase the rights, noting that they put up the money, and “Lazar agreed not to compete.” Lazar received an executive producer credit. Articles in the 23 Feb 1981 DV and the 8 Jun 1981DV reported Zanuck and Brown had a “long-term exclusive deal” with 20th Century-Fox, but Fox was not interested in the project. LAT noted that Fox passed a second time after reading Larry Gelbart’s first draft of the screenplay. The producers took the project to Columbia Pictures where Frank Price made a deal for the film, with a $10 million budget, a mid-Apr 1981 start date and a Dec 1981 planned release.
       The LAT article noted that Zanuck and Brown first considered “superstar comics” such as Gene Wilder and Steve Martin, but chose to cast John Belushi and Dan Aykroyd. The 8 Jun 1981 DV reported Belushi’s salary was $1.35 million and Aykroyd received $1 million, plus percentages for the actors. According to the 18 Dec 1981 NYT review, the character played by Aykroyd was named “Harry” in the novel, but was changed to “Vic” for the film.
       A 24 Apr 1981 HR brief stated principal photography began 20 Apr 1981, and the 29 Jun 1981 DV reported the completion of principal photography that day. The 1 May 1981 NYT noted Neighbors filmed entirely in Staten Island, NY. According to the 23 Nov 1981 New York, preview screenings of the film revealed audiences felt Belushi’s character reacted too calmly to the chaos created by Aykroyd’s character, and the film was partially re-shot as a result.
       As tracked by articles in the HR on 12 Jan 1982, 25 Jan 1982, and 5 Feb 1982, screenwriter Larry Gelbart charged John Belushi and Dan Aykroyd with “scabbing” during the 1981 Writers Guild of America (WGA) strike, claiming they rewrote the script during the strike. Belushi and Aykroyd were both members of the WGA, in addition to being members of the Screen Actors Guild (SAG). The WGA strike disciplinary committee met with Belushi and Aykroyd on 19 Jan 1982 to discuss the situation. Aykroyd stated that he and director Avildsen rewrote the script prior to the strike and registered that draft with the WGA eight days prior to the strike. Belushi and Aykroyd stated that they did not write during the strike, but made “casual” changes to the dialogue as actors improvising and ad libbing. Jeff Freilich, chairman of the WGA committee investigating strike violation issues, stated that he did not believe “Aykroyd’s intentions were to undermine the guild… or undercut the strike.” Freilich also noted that everyone on the committee believed the changes were “writing,” but a central question was whether the WGA protects against that type of writing. “Casual changes” were allowed in the WGA’s “A through H” writing clauses, which listed acceptable functions by writers during a strike. Freilich stated that the meeting with Aykroyd confirmed the committee’s thoughts that the “A through H” clauses, the roles of writer-hyphenates, and the term “casual changes” needed to be clarified and better defined. The 5 Feb 1982 HR stated the WGA committee wanted to discuss the situation with Larry Gelbart again before rendering a decision. Freilich noted it was a difficult case and its resolution had “future importance to the Guild.”
       The 8 Oct 1981 HR reported the film was initially scheduled to be released on 4 Dec 1981, but Columbia moved the release date to 18 Dec 1981. In a 6 Oct 1981 Columbia Pictures press release in AMPAS library files, James R. Spitz, Columbia’s president of domestic distribution, stated the move would allow the film to open at a “time of greater audience availability and theater potential.” A 23 Feb 1982 Village Voice article reviewing the “Last Releases of 1981” stated that Neighbors was a “borderline case” with $16 million in box-office grosses. A 4 Jan 1982 Columbia press release announced that the film’s seventeen-day box-office gross was $22,912,933 in 1,415 theaters. An article in the 14 Apr 1982 LAT reported the film grossed $32 million, primarily during the two-week holiday season. The film was only screening at a few “second-run” theaters when John Belushi died on 5 Mar 1982 from an overdose of heroin and cocaine. Columbia chose to re-release the film for midnight weekend showings in early Apr 1982. The article noted that Columbia was taking the “middle” ground regarding the exploitation of Belushi’s death, and did not emphasize the actor’s name in publicity. However, critics referred to it as “the ghoul strategy” and felt it was in bad taste to capitalize on Belushi’s final film. Columbia’s marketing president, Marvin Antonowsky claimed the release was just one in a series of midnight releases for the company.
      End credits include the following statement: “Special Thanks To: Karl and Ethel Brown; The New York Health and Hospital Corporation; Michael Cantatore; Al Boltari; The Seaview Hospital and Home Security Staff; Richard Kelly and Roselle Paving, Inc.; Fanelli Nursery; J. William Foley, Inc.; Vikki Pamkowski; New York Mayor’s Office of Film, Theatre and Broadcasting; WNEW-TV News; ESPN Cable Sports Network; Lou Bonacki.”

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
23 Feb 1981
p. 1, 30
Daily Variety
8 Jun 1981
---
Daily Variety
29 Jun 1981
---
Hollywood Reporter
24 Apr 1981
---
Hollywood Reporter
8 Oct 1981
---
Hollywood Reporter
12 Jan 1982
---
Hollywood Reporter
25 Jan 1982
p. 1, 4
Hollywood Reporter
5 Feb 1982
---
Hollywood Reporter
14 Dec 1982
p. 2
Los Angeles Times
28 Jun 1981
Calendar, p. 19
Los Angeles Times
18 Dec 1981
p. 16
Los Angeles Times
14 Apr 1982
p. 1, 5
New York
23 Nov 1981
---
New York Times
1 May 1981
---
New York Times
18 Dec 1981
p. 19
Variety
16 Dec 1981
p. 16
Village Voice
23 Feb 1982
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Columbia Pictures Presents
A John G. Avildsen Film
A Zanuck/Brown Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
2d asst dir
2d asst dir
DGA trainee
PRODUCERS
Exec prod
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
Addl photog by
1st asst cam
2d asst cam
Still photog
Gaffer
Best boy
Key grip
Dolly grip
ART DIRECTOR
Prod des
FILM EDITORS
Asst ed
Asst ed
Asst ed
Apprentice ed
Apprentice ed
SET DECORATORS
Set dec
Set dresser
Prop master
Const supv
Chargeman scenic artist
COSTUMES
Cost des
Men`s ward
Women's ward
MUSIC
Mus mixer
SOUND
Sd mixer
Boom man
Sd ed
Dial mixer
Eff mixer
VISUAL EFFECTS
Spec eff
Spec eff
MAKEUP
Makeup artist
Hairstylist
PRODUCTION MISC
Casting
Loc mgr
Prod office coord
Teamster captain
Vincent Martinez
Loc auditor
Loc services
Loc and video services
Prod asst
Prod asst
Prod asst
Prod asst
Secy to the prods
Secy/Asst to Mr. Avildsen
Secy/Asst to Mr. Avildsen
Secy/Asst to Mr. Avildsen
Secy/Asst to Mr. Avildsen
Secy/Asst to Mr. Avildsen
Secy/Asst to Mr. Avildsen
"Uggaby" owned and trained by
STAND INS
Trainer and stund coord
COLOR PERSONNEL
Col by
SOURCES
LITERARY
Based on the novel Neighbors by Thomas Berger (New York, 1980).
LITERARY SOURCE AUTHOR
SONGS
"Hello, I Love You," performed by The Doors, courtesy of Elektra Records; "Stayin' Alive," written and performed by The Bee Gees, courtesy of RSO Records, Inc.
PERFORMED BY
SONGWRITER/COMPOSER
DETAILS
Release Date:
18 December 1981
Premiere Information:
Los Angeles and New York openings: 18 Dec 1981
Production Date:
20 Apr--29 Jun 1981
Copyright Info
Claimant
Date
Copyright Number
Columbia Pictures Industries, Inc.
19 January 1982
PA127239
Physical Properties:
Sound
Color
Lenses
Lenses and Panaflex® camera by Panavision®
Duration(in mins):
94
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

Earl Keese, a middle-aged suburbanite, watches television after arriving home from work. He notices a truck outside the other home on the cul-de-sac, and wonders who is moving in. He suggests to his wife, Enid, that they invite the new neighbors over for a drink, but she is uninterested and starts cooking dinner. The doorbell rings and Earl meets Ramona, his sexy new neighbor, and invites her to dinner. However, when Earl informs his wife, he discovers Enid did not have time to grocery shop and they only have frozen waffles for dinner. Earl returns to the living room, and Ramona is gone, but her husband, Vic, has arrived. Vic offers to get Italian take-out food if Earl pays for it. Earl agrees and gives Vic money. Next, Vic asks for Earl’s car keys, claiming his truck’s brakes are failing. Earl’s suspicion heightens when Vic mentions getting the food from a new Italian restaurant that Earl does not believe exists. Earl goes to his bedroom upstairs to get car keys from his wife’s purse, and discovers Ramona naked in bed, stating she needs to rest after the move. After Vic leaves with the car keys, Earl sees Vic drive to the house next door and run inside. He sneaks to his neighbor’s house to investigate, and watches Vic cook spaghetti and place it in take-out containers. As a joke, Earl decides to hide Vic’s truck in his garage. However, Earl discovers the truck’s brakes do not work. He jumps out as the truck speeds into the nearby swamp and sinks. As Earl ...

More Less

Earl Keese, a middle-aged suburbanite, watches television after arriving home from work. He notices a truck outside the other home on the cul-de-sac, and wonders who is moving in. He suggests to his wife, Enid, that they invite the new neighbors over for a drink, but she is uninterested and starts cooking dinner. The doorbell rings and Earl meets Ramona, his sexy new neighbor, and invites her to dinner. However, when Earl informs his wife, he discovers Enid did not have time to grocery shop and they only have frozen waffles for dinner. Earl returns to the living room, and Ramona is gone, but her husband, Vic, has arrived. Vic offers to get Italian take-out food if Earl pays for it. Earl agrees and gives Vic money. Next, Vic asks for Earl’s car keys, claiming his truck’s brakes are failing. Earl’s suspicion heightens when Vic mentions getting the food from a new Italian restaurant that Earl does not believe exists. Earl goes to his bedroom upstairs to get car keys from his wife’s purse, and discovers Ramona naked in bed, stating she needs to rest after the move. After Vic leaves with the car keys, Earl sees Vic drive to the house next door and run inside. He sneaks to his neighbor’s house to investigate, and watches Vic cook spaghetti and place it in take-out containers. As a joke, Earl decides to hide Vic’s truck in his garage. However, Earl discovers the truck’s brakes do not work. He jumps out as the truck speeds into the nearby swamp and sinks. As Earl returns home, Vic arrives with the “takeout” food and wine. Enid greets Vic warmly and admits they met earlier in the day. Enid flirts with Vic, and sends her husband to look for Ramona. When Earl finds Ramona on the front porch, she wants money to stay quiet about Earl’s “joke” with Vic’s truck. As they eat, Earl questions Vic about the takeout food, forcing Vic to admit he cooked it. Ramona suggests that Earl also confess. He thinks she is referring to their “arrangement” about the truck, but Ramona announces that Earl tried to have sex with her. Upset, Vic and Ramona leave, but Vic promises not to take Earl to court because they will be neighbors for a long time. Seconds later, Earl and Enid rush outside when Vic and Ramona’s dog is zapped by a burst of power from the electric tower that stands between the two homes. The dog survives the shock, but a bird hits a power line and drops dead. Vic and Ramona admit they were joking about Earl wanting to have sex with Ramona. As the women go inside for a drink, Earl confesses his own prank involving Vic’s truck. Vic demands they go to the swamp so he can retrieve his truck and the model airplane inside. Earl falls into quicksand and Vic eventually pulls him out, but falls into the quicksand himself in the process. Earl tries to find Vic, but cannot. Believing Vic is dead, Earl staggers to his basement for a shower, and a mud-covered Vic jumps out at him. After showering, Earl locks his new neighbors in the cellar. However, the couple makes strange noises and Enid sends Earl to investigate. Vic and Ramona sneak upstairs and lock Earl in the cellar. Earl calls a local, Pa Greavey, asking for a locksmith and a tow truck. Greavey states that Vic already called, and Greavey does not think it is funny that Earl drove Vic’s car into the swamp and locked the couple in the basement. Through the basement window, Earl sees his own car being towed. He discovers the basement door is no longer locked, and goes outside to find Enid, Ramona and Vic talking to Elaine, Earl and Enid’s daughter who was expelled from school and hitchhiked home. Elaine has a bottle of vodka and is ready to party with the new neighbors, but when she shows everyone her edible underwear, Vic makes a crass joke and Earl punches him. Ramona and Vic leave. Angry, Enid and Elaine go to bed. As Earl turns off the lights, Ramona propositions him through the mail slot. Earl asks her to wait and then runs upstairs to shave. When he returns, Ramona is not outside, but Pa Greavey has returned with Earl’s car. The mechanic is furious that the car is fine and there was no reason to examine it during the night. Greavey punches Earl and smashes the front of Earl’s car before speeding away. As Earl searches for Ramona, Vic mistakes him for a prowler and shoots. Earl claims he was looking for someone to talk to and Vic offers to talk over coffee. However, when Vic steers the discussion to Elaine’s sex life, they fight and Earl leaves. In the morning, as Earl returns home, he notices the words “pimp wagon” have been spray-painted on his car. Upstairs, his bedroom door is locked as Enid and Ramona chat inside. Outside, Vic polishes the graffiti off Earl’s car and borrows it to pick up breakfast. A tow truck driver pulls Vic’s truck from the swamp, but the vehicle will not start. Vic returns with a moving trailer attached to Earl’s car, retrieves the model plane from his truck, and announces he is moving because the swamp attracts bugs and the power lines are too close. Earl wants Vic and Ramona to stay, admitting he does not have any friends. Vic claims Ramona is not his wife, but she is “paid for” and Earl can have her. Earl finds Ramona alone in his bedroom and she offers sex. However, their tryst is interrupted when Vic crashes his radio controlled plane into his own house, which explodes into flames. Firemen arrive, but there is not enough water pressure to douse the flames. When Earl returns to his home after the excitement, Ramona tells him that Vic traded her for Enid and Elaine. Earl offers to take Ramona to the city for breakfast and changes his clothes. However, when he returns to the kitchen, Enid, Elaine and Vic have returned with breakfast. As they eat, Earl admits his life was tedious until Vic and Ramona arrived, and he wants to move out of the suburbs. He wants Vic to buy his house, claiming Vic destroyed his own home for the insurance money. Vic and Ramona admit there is no insurance money and they did not own the house. Vic worked at the nursing home where Mrs. Warren, the Keese’s previous neighbor, recently died. Her house was empty, so Vic and Ramona moved in. Now that the house is gone, they will move on. Earl gives Vic and Ramona his car and the couple leaves. Later, Elaine returns to school, and Enid drives away with Mr. Thundersky to attend a Native American studies class. Earl is left alone to watch television, but Vic and Ramona return, announcing their travels will not be fun without Earl. He smashes the television set, igniting a fire, and the home bursts into flames as Earl, Vic and Ramona leave for the “great unknown.”

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

It's a Wonderful Life

Philip Van Doren Stern's story, which, according to many contemporary and modern sources, was originally written in Nov 1939, was enclosed by him in his 1943 Christmas cards. Although ... >>

The Grapes of Wrath

According to materials contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Theater Arts Library, Fox paid John Steinbeck $70,000 for the rights to his ... >>

The Sound of Music

The onscreen title reads "Rodgers and Hammerstein's The Sound of Music."
       The Sound of Music was adapted from the Richard Rodgers and Oscar Hammerstein ... >>

Batman Returns

According to a 14 Jun 1992 LAT article, Warner Bros. was very eager for Tim Burton to direct the sequel to his 1989 film Batman ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.